Britain’s Got Talent at the AV Awards 2019
On Friday the great and the good gathered in London for the 2019 AV Awards. As finalists in the Broadcast Media Project of the Year category for our work in Britain’s Got Talent, we’d polished our boots and fastened our bow-ties.
We have been part of the team who have worked on Britain’s Got Talent for 13 years now. Produced in the UK, this light entertainment show has consistently received its highest yet ratings in its broadcast time slot this year. DeltaLive are involved in the audio for both the recorded live auditions as well as the live semi-finals and finals television broadcasts.
The first phase, the auditions, is a live recorded reality-based format which goes into post-production for later transmission. These auditions are recorded in various cities around the UK. This is a full rolling production package of sound, lighting, cameras, displays and associated technologies. We supplied equipment, engineering, creative and radio frequency coordination for the show’s judges and contestants.
The second phase, semi-finals, is a live broadcast format consisting of all elements of television production, producing five nightly televised programmes. This includes an intense rehearsal schedule of all shows over a three-day period in preparation of the five live shows to follow. Understanding between departments in a respectful and helpful manner, along with consideration for others, is key to the show’s success.
Design and supply
Design and space restrictions are key areas of concern within the world of television. To ensure the best possible delivery we supply industry recognised equipment.
The audience PA, in both phases of the production, featured L-Acoustics elements configured for optimal audience reaction and control around the judge’s desk. Being a music programme, the need for musical performance impact was key.
The main front of house control for both phases centred around Digico consoles. Additional Digico infrastructure for the recorded elements of the Auditions were added at front of house.
Performance microphones for both phases centred around the Shure Axient Digital system.
The foldback requirements for the two phases were completely different. For the Auditions we needed to consider space constraints, keeping an ‘open stage’ feel.
The Studio was more complex. We supplied a Digico Console which was used for stage floor monitoring and side fill control and was operated solely by the BGT supplied engineer. We also supplied a Digico Console which was used solely for In-Ear–Monitor (IEM) mixing of the visiting guest artist, by the guest artist engineer.
For the traditional stage and flown monitoring, we supplied a minimalistic downstage configuration of L-Acoustics floor monitors as our standard starting point. There were no other side fills placed on the stage due to the stage screen and prop movements for the duration of the show.
For the studio phase, 100+ radio frequencies were in use for principle, performance mics as well as IEM’s. The overall site was closely monitored during our tenancy and it was essential that we adhered to the radio plan in place for the entire site.
The result was great TV, clients who were brilliantly happy and ratings that consistently out-did all the competition. Oh, and a fun night out at the 2019 AV Awards.
DeltaLive
Because experience matters.